If you’re not in the market for expensive new software, then there are free solutions. Wondrous new sounds can be wrangled via creative experimentations with all three. With two virtual distortion units running in parallel, interesting blends can be mixed, the additional FREAK and BITE effects from the same series add modulation and bit-crushing flavourings too. Speaking of dirt, Native Instruments have some serious chops in the sound-muddying world, with their DIRT effect doing exactly what it says on the tin. Modelled after some of those classic pieces of kit that defined the early experiments in studio guitar sound-effecting, its high and low-pass filters are a godsend for sculpting just the right levels of dirtiness for your track. Outside of the variety of distortions you’ll find in the aforementioned fully-featured software guitar suites, plugins like the magnificent Decapitator from SoundToys can yield unrivalled levels of grit. Overdrive, distortion and fuzz are the most well known guitar effects, and while variations exist between them, the beefier tone is one which lead and rock players rely on as pretty much the default state for their instrument. The thrill of mixing and matching a personalised signal routing is retained, while further tweaks can be applied and effects can be switched and A/Bed long after recording has taken place. These virtual pedalboards feature heaps of vividly-designed, distinctive pedals modelled after some of the most well-regarded from pedal history. Take BIAS’s FX 2, or the range of virtual pedals found as standard within Logic. While we have to admit, the sight of a characterful pedalboard still leaves us giddy with excitement, it’s difficult to not accept that the range, tone and additional abilities of software guitar effects surpass what a straightforward pedalboard is capable of.
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